Code: 22414: Paper 207:Contemporary Literatures in English
From ‘Manasa’ to ‘Madonna’: Reading Religion and Mythology in Amitav Ghosh’s Gun Island
Table of Content :
Personal Information
Assignment Details
Abstract
Key Words
Introduction
Mythology and Religion: From Manasa to Madonna
Religion Beyond God: The Concept of Dharma
Memory, Migration, and Environmental Crises
Deconstructing Western Rationality
Conclusion
Reference
Personal Information
Name : Khushi R. Rathod
Batch : 2023-25
Roll No : 16
Enrollment Number : 5108230039
Semester : 4
E- mail : khushirathod1863@gmail.com
Assignment Details
Paper No : 206
Paper Code : 22413
Paper Name : Contemporary Literatures in English
Topic : From ‘Manasa’ to ‘Madonna’: Reading Religion and Mythology in Amitav Ghosh’s Gun Island
Submitted to : Smt.S.B.Gardi, Department of English,MKBU
Abstract
Amitav Ghosh’s Gun Island presents a unique exploration of religion and mythology, tracing connections from the Hindu snake goddess Manasa to the Madonna of Good Health in Venice. The novel reconfigures religion as dharma, emphasizing an ecological and universal sense of duty rather than dogmatic faith. Ghosh blends myth, history, and contemporary issues such as climate change and migration, creating an intricate narrative where faith, memory, and environmental consciousness converge. This paper examines how Gun Island navigates between myth and reality, constructing a fluid and transnational understanding of religiosity.
Key Words : Mythology, Religion, Dharma, Manasa, Madonna, Gun Island, Migration, Climate Change, Bhutas, Syncretism
Introduction
Amitav Ghosh’s works are known for their deep engagement with history, ecology, and cultural memory. Gun Island (2019) continues this trend by weaving together religious myths and environmental concerns into a singular narrative. Through the story of Dinanath, also known as Deen, the novel explores how myths transcend geographical and temporal boundaries. As Deen unravels the legend of the snake goddess Manasa, he discovers unexpected links to the Venetian Madonna, demonstrating how mythology serves as a bridge between civilizations.
Ghosh challenges the traditional definitions of religion, advocating instead for a more ecological and inclusive understanding of faith. As the novel moves from the Sundarbans to Venice, it interrogates how mythology and history shape contemporary identity and survival. This paper explores Ghosh’s engagement with myth, memory, and religiosity, analyzing how Gun Island reconceptualizes the relationship between past and present.
Mythology and Religion: From Manasa to Madonna
Amitav Ghosh’s Gun Island explores the interconnectedness of mythology and religion, demonstrating how stories transcend geographical and temporal boundaries. By tracing the journey of the Bengali snake goddess Manasa to the Madonna of Good Health in Venice, Ghosh constructs a narrative that challenges the rigid structures of institutionalized religion. His novel suggests that myths are not confined to the past but continue to shape contemporary consciousness, offering insights into migration, displacement, and environmental crises.
1. Manasa: The Goddess of Snakes and Her Mythic Journey
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Manasa, the Hindu snake goddess, is a central figure in Bengali folklore. Traditionally, she is depicted as a protector against snakebites and a deity who demands devotion from her followers. Her most well-known myth is recorded in the Manasa Mangal Kavya, a medieval Bengali text that recounts her struggle to gain recognition from the merchant Chand Saudagar. Despite her divine status, Manasa is not part of the mainstream Hindu pantheon, highlighting her liminal position in religious traditions.
In Gun Island, Ghosh reintroduces this myth through the story of Banduki Saudagar, a merchant who, like Chand Saudagar, refuses to worship Manasa. As punishment, he is forced to undertake a perilous journey, fleeing his homeland to escape her wrath. Deen, the protagonist, uncovers this forgotten legend when he visits a shrine in the Sundarbans, where locals revere both Manasa and a Muslim saint named Ilyas (Ghosh 15). This syncretic worship suggests that mythology is not static but evolves through cultural interactions.
2. The Migration of Myths: Manasa and Madonna
As Deen traces the story of the Banduki Saudagar, he discovers that the merchant’s journey did not end in Bengal. His travels took him to Venice, where he encountered another powerful female deity—the Madonna of Good Health, or Santa Maria della Salute. This Madonna was venerated in the 1630s after a plague devastated the city. According to historical records, she was believed to have saved Venice, leading to the construction of a grand church in her honor.
Cinta, Deen’s historian friend, reveals an even deeper connection: the icon of the Madonna in Venice was originally brought from Crete, where it was associated with A-sa-sa-ra-me, the Minoan goddess of snakes (Ghosh 223). This revelation suggests that the archetype of the snake goddess transcends cultures, appearing in different forms across civilizations. The connection between Manasa and Madonna highlights the fluidity of religious symbols, challenging the rigid distinctions between Eastern and Western traditions.
3. Myth as Memory: Reconstructing Lost Histories
Ghosh’s narrative suggests that myths are not just stories but repositories of historical memory. Deen’s discovery of the Banduki Saudagar legend mirrors the experiences of contemporary migrants who flee environmental and economic crises. Just as the merchant sought refuge from divine wrath, modern refugees escape climate change-induced disasters in South Asia.
In one conversation, Cinta explains the role of myths in preserving historical truths:
“Myths are not just stories; they are the shadows of lost histories, the echoes of forgotten migrations.” (Ghosh 127)
This perspective aligns with Assmann’s theory of mnemohistory, which argues that collective memory shapes historical narratives (Bernstein 2009). Ghosh uses mythology as a lens to explore the past, demonstrating that ancient legends often contain hidden truths about migration, displacement, and survival.
4. Religious Syncretism: The Coexistence of Manasa and Madonna
One of the most striking aspects of Gun Island is its depiction of religious syncretism—the blending of different religious traditions. The shrine that Deen visits in the Sundarbans is worshipped by both Hindus and Muslims, illustrating how local traditions resist rigid sectarian boundaries. Similarly, the Madonna in Venice has multiple layers of meaning:
To Christians, she is the Virgin Mary, the protector of Venice.
To historians like Cinta, she is linked to A-sa-sa-ra-me, the ancient Minoan goddess of snakes.
To Deen, she represents a parallel to Manasa, showing how myths travel and transform across cultures.
Ghosh suggests that religious identities are not fixed but evolve through historical interactions. This idea challenges the notion of religion as an exclusive category, proposing instead a more inclusive and fluid understanding of faith.
5. The Role of Myth in the Anthropocene
Beyond its historical and religious significance, Ghosh’s use of mythology serves an ecological purpose. He argues that myths, particularly those involving nature deities, offer valuable insights into environmental crises. Manasa, as a snake goddess, symbolizes the delicate balance between humans and nature. In contrast, the Madonna of Venice is linked to a historical plague, reminding readers of the environmental and health disasters that have shaped human history.
Throughout the novel, natural disasters such as cyclones, wildfires, and species migration serve as modern manifestations of mythic upheavals. The parallel between Manasa’s wrath and contemporary climate disasters underscores the urgent need to rethink humanity’s relationship with nature. As Deen observes:
“Perhaps the stories of the past were not just stories; perhaps they were warnings, echoes of a world that had seen destruction before.” (Ghosh 156)
By linking mythology to climate change, Gun Island repositions ancient stories as relevant tools for understanding contemporary crises.
Religion Beyond God: The Concept of Dharma
Amitav Ghosh’s Gun Island presents a radical rethinking of religion, moving beyond conventional, institutionalized faith to a more fluid and ethical understanding of dharma. In Hindu philosophy, dharma does not simply mean religion; it signifies an individual’s righteous duty and moral responsibility toward the world. Ghosh uses this concept to challenge rigid religious structures and emphasize an ecological and ethical approach to faith that transcends sectarian boundaries.
1. Dharma as a Universal Ethical Principle
Throughout Gun Island, Ghosh reconfigures religion as a set of ethical responsibilities rather than a belief in divine authority. This idea aligns with the Vedantic philosophy of Vasudhaiva Kutumbakam—the world as a single family. Unlike organized religion, which often fosters division, dharma is inclusive, advocating for the coexistence of all living beings.
Cinta, a historian and Deen’s mentor in the novel, frequently deconstructs Western notions of rationality, arguing that ancient civilizations viewed myths as sources of wisdom rather than mere stories. She tells Deen:
“In the seventeenth century no one would ever have said of something that it was ‘just a story’ as we moderns do. They knew that only through stories was it possible to enter the most inward mysteries of our existence.” (Ghosh 127)
Here, Ghosh implies that ancient traditions, rather than being superstitious, carried ethical insights that modern societies often ignore. By framing myths as ethical parables rather than literal religious truths, Gun Island suggests that the essence of faith lies in moral action rather than rigid doctrines.
2. Dharma vs. Organized Religion
One of the novel’s most striking themes is its critique of institutionalized religion. Scholars such as Pattnaik (2003) argue that Hinduism itself was a colonial construct, created to categorize diverse Indian spiritual traditions under a single umbrella (3). Gun Island echoes this critique by contrasting dharma—a duty-based spiritual path—with the exclusionary practices of organized religion.
The distinction is evident in Deen’s journey. Initially, he is a rationalist who views myths as primitive folklore. However, as he encounters the legend of the Banduki Saudagar and its parallels in Venetian religious history, he begins to realize that faith is not about dogma but about interconnectedness. In one pivotal moment, Deen reflects on his experiences and states:
“I began to understand that myths are not relics of the past but living, evolving entities that shape our present.” (Ghosh 156)
This realization mirrors the Upanishadic view that dharma is not about worshipping deities but about fulfilling one’s role in the cosmic order. Unlike institutionalized religion, which relies on rigid doctrines and rituals, dharma is adaptable and practical, focusing on ethical living.
3. The Presence of Bhutas: A Religion Without Gods
Ghosh introduces the concept of bhutas—a term that in Sanskrit means both “beings” and “spirits.” This dual meaning suggests that existence is a continuum where past, present, and future coalesce. Deen’s journey is marked by encounters with these presences, which cannot be explained by science but which guide him toward a deeper understanding of the world.
One of the most mystical experiences in the novel occurs when Deen, after visiting the shrine of Manasa, feels an inexplicable connection to something beyond human perception:
“…it was memory itself, except that it was not my own: it was much older than me, some submerged aspect of time that had been brought suddenly to life when I entered that shrine—something fearsome, venomous, and overwhelmingly powerful.” (Ghosh 103)
Here, Ghosh suggests that religion is not about belief in an external god but about attuning oneself to the rhythms of the natural world. The bhutas in Gun Island serve as intermediaries between the human and the non-human, reminding characters of their responsibility to nature.
4. Dharma and Ecology: A Call for Coexistence
At its core, Gun Island argues that dharma is about ecological balance. The novel repeatedly emphasizes that humans are not separate from nature but part of a larger, interconnected web of existence. This idea is reinforced in the novel’s climax, where various animals—spiders, dolphins, and snakes—appear in unusual places, symbolizing the collapse of ecological boundaries.
Deen ultimately comes to understand that the environmental crises depicted in the novel—rising sea levels, forced migration, and climate disasters—are consequences of humanity’s failure to uphold its dharma. As he reflects on the connections between the past and present, he realizes that survival depends not on religious dogma but on collective responsibility:
“The creatures of the three lokas—swarga (heaven), marta (earth), and patal (underworld)—were all performing a grand cosmic play. The ultimate salvation lay in co-existence, not dominance.” (Ghosh 260)
By drawing on ancient Hindu cosmology, Ghosh reinforces his argument that dharma is an ecological and moral imperative. Just as myths teach that every being has a role to play in the universe, modern societies must recognize their duty to protect the planet.
Memory, Migration, and Environmental Crises
One of the novel’s most compelling themes is its connection between mythology and contemporary crises, particularly climate change and migration. Just as the Banduki Saudagar was forced to flee his homeland due to environmental calamities, modern migrants from the Sundarbans seek refuge in Italy, retracing the same perilous routes (Ghosh 55). This parallelism underscores Ghosh’s argument that climate change is the new pralaya, the apocalyptic dissolution foretold in Hindu cosmology.
Tipu, the son of Fokir from The Hungry Tide, represents the next generation of climate refugees. His journey to Europe is not merely economic but existential, driven by the same forces that displaced his ancestors. Deen realizes that migration is not a contemporary phenomenon but a recurring pattern in human history, encoded in myths and legends.
Nature itself becomes a mythical presence in the novel. The increasing frequency of cyclones, the mysterious appearance of venomous spiders, and the migration of dolphins all signal an ecological imbalance. These occurrences align with what Ghosh discusses in The Great Derangement, where he critiques modernity’s failure to acknowledge the agency of nature (Ghosh 2016). By situating environmental disasters within mythological narratives, Gun Island challenges readers to see climate change not as an abstract scientific issue but as an unfolding myth that demands human action.
Deconstructing Western Rationality
A recurring motif in Gun Island is the tension between Western rationality and non-Western spiritual traditions. Deen, initially a rationalist, is forced to reconsider his beliefs when confronted with inexplicable phenomena. Cinta, his historian friend, serves as his guide, explaining how pre-modern societies viewed myths not as fiction but as repositories of deep truths.
“In the seventeenth century no one would ever have said of something that it was ‘just a story’ as we moderns do,” Cinta explains. “They knew that only through stories was it possible to enter the most inward mysteries of our existence” (Ghosh 127). This perspective aligns with Levi-Strauss’s argument in Myth and Meaning that myths function as cognitive maps, helping societies navigate existential uncertainties (Levi-Strauss 1979).
Ghosh also draws on non-Western epistemologies, particularly the Indian concept of bhuta, which signifies both being and becoming (Ghosh 156). This philosophical framework allows for a more fluid understanding of existence, where past, present, and future coexist in memory and myth. Deen’s eventual acceptance of this worldview marks his transformation from a detached observer to an engaged participant in the world’s interconnected narratives.
Conclusion
Gun Island is a testament to Amitav Ghosh’s ability to blend myth, history, and contemporary issues into a cohesive narrative. By tracing the journey from Manasa to Madonna, the novel reveals how religious symbols transcend geographical and cultural boundaries. More importantly, it challenges the rigid structures of institutionalized religion, advocating instead for a more ecological and ethical form of faith.
Through Deen’s journey, Ghosh redefines religiosity as a dynamic interplay between memory, migration, and environmental consciousness. As myths evolve, they offer new ways of understanding the present, reminding us that history is not linear but cyclical. In an age of climate change and displacement, Gun Island serves as a myth for our times, urging us to rethink our relationship with nature, history, and each other.
References :
Chatterjee., Dr. Sanjukta. “From ‘Manasa’ to ‘Madonna’: Reading Religion and Mythology in Amitav Ghosh’s Gun Island.” PROTEUS JOURNAL, 2020, https://drive.google.com/file/d/1_e1OAvRu5uegtE3gsSNsy54W_HF17SRL/view. Accessed 10 April 2025.
Dimock, Edward C. The Goddess of Snakes in Bengali Medieval Literature. 2010.
Ghosh, Amitav. Gun Island. Gurgaon: Penguin Random House India, 2019.
Ghosh, Amitav. The Great Derangement. Gurgaon: Penguin Random House India, 2016.
Levi-Strauss, Claude. Myth and Meaning. U.S.A: Schocken Books, 1979.
Pattanaik, Devdutt. Indian Mythology. Rochester, Vermont: Inner Traditions, 2003.
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